Mary O'Hara - Press Cuttings: Concert/Recital Reviews From Past Years

In contrast to almost every other song-to-the-harp performer that we have to endure, she sees that her harp starts in tune; she sings to her audience and not to the wall or herself; her whole manner and delivery are professional, musicianly, finished. In her person and her music she transforms mere entertainment into high art, entirely of its own kind. ”An Evening of Traditional Music.” This was an excellent idea: it emphasises that our much needed concert hall is a national concern for all sorts of music. Nevertheless, it must be reported that hardly any of the proceedings were traditional: though the organisers and most of the large audience will regard that comment as mere hair splitting. An almost exact analogy would be a “classical” concert consisting of Pucini arias arranged for unison choir, a Mozart symphony transcribed for guitar, a Bach air played by skiffle group.

Before our traditional music in its true form is completely overlaid, why cannot we have just a few authentic performances? Within this context one must accept Grainne ni Chormaic’s admirable dancing (and thank her for reviving an almost lost tradition by smiling) and also welcome Leo Rowsome’s expertise on the uillean pipes – a welcome almost cancelled by the deplorable trio of pipe violin and flute which he led….

C. A. -----------------------IRISH INDEPENDENT (Dublin) Tuesday October 4th, 1960 ARTISTRY OF HARPIST SINGER

By Mary McGoris “Irish Independent” Music Critic The star artist at an Evening of Traditional Music, presented in the Shelbourne Hotel as the latest of the National Concert Hall Fund’s recitals, was Mary O’Hara making a welcome re-appearance in Dublin.

Her gentle style is as winning as ever, and her performance has a finish and assurance which make themselves felt without being thrust upon the audience. It is a pleasure to hear her harp accompaniments, not alone in tune but played with a musical artistry which lends distinction even to so puerile a ditty as Maidrin Ruadh.

In the lilting charm of Dia Luain, Dia Mairt, she was at her most attractive and Ard Ti Cuain, always one of her best numbers was extremely moving though she seems to have incorporated an ill-judged nasal hum in the “trom” of the refrain.

My Lagan Love is a man’s song and should not be sung by a woman, nor is its banked passion suited to a voice whose outstanding quality is one of innocent sweetness, but Cucuin, a Chuaichin, with the exquisite delicacy of its echo effect, was a tour de force.

--------------------------IRISH PRESS Dublin, Ireland 4/10/1960 CONCERT HALL RECITAL SUCCESS The occasion was memorable for the re-appearance, after her years abroad of harpist-singer Mary O’Hara. She sang with real artistry and calm confidence – backed by a quiet charm which won the audience completely. The small sweet voice we remembered has matured and is cleverly supported by cunning and tasteful harp accompaniments.

This is her secret – plus an innate ability to combine the two in seemingly effortless fashion. (Her deft manipulation of individual strings for passing modulations was a revelation – a technique in the manner of the old harpers).

She is still at her best in the old Gaelic songs and that is a very good best indeed. Árd Tí Cuain, An Maidrín Rua and An Cúcuín were delightfully sung.